{"id":8454,"date":"2021-09-05T16:36:08","date_gmt":"2021-09-05T14:36:08","guid":{"rendered":"https:\/\/www.geh8.de\/?p=8454"},"modified":"2023-10-20T23:00:51","modified_gmt":"2023-10-20T21:00:51","slug":"3-verstaerker-kunst-film-festival","status":"publish","type":"post","link":"https:\/\/www.geh8.de\/en\/3-verstaerker-kunst-film-festival\/","title":{"rendered":"3rd Verst\u00e4rker Art-Film-Festival: participating entries"},"content":{"rendered":"

As part of the Verst\u00e4rker Program to support young artists, GEH8 is hosting the 3rd Art Film Festival.<\/strong><\/p>\n

On Friday, September 24, the festival will present short film contributions by students from eight different universities in the New German States. Here the audience decides: Come to the screening and vote for your favorite! The most popular entries will receive prize money, and a jury of experts will also present the Verst\u00e4rker Award designed by Dresden artist Heinz Schm\u00f6ller.<\/p>\n

All winners will be awarded during a gala show with live music on Saturday, September 25.<\/p>\n

NEW:<\/strong> For the first time, short films from an international guest university will be shown at the gala show on Saturday. In the future, the art academy of a partner city of Dresden will be invited to present itself with short films. The Columbus Collage of Art and Design<\/span><\/a> with the departments of animation as well as film and video will kick things off.<\/p>\n

Friday, September 24, 2021<\/strong><\/p>\n

Opening + Screening<\/p>\n

Admission 6 p.m. | Start 7 p.m.<\/p>\n

Saturday, September 25, 2021<\/strong><\/p>\n

Awards Ceremony<\/p>\n

Show with live music<\/p>\n

Admission 6 p.m. | Start 7 p.m.<\/p>\n

Jury<\/strong><\/p>\n

Jana Endruschat<\/strong> studied media & communication science and has always been connected to the Saxon film scene. For more than 10 years she produced image and industrial films and worked at least as long in the production department for national and international feature film productions. As a trainee in the funding department she got to know the mechanisms of the Central German Media Funding & was able to expand her moving image spectrum at Werkleitzgesellschaft e.V. in the Center for Media Art. 2013-2018 she was responsible for communication & network at Filmverband Sachsen. In January 2019, she took over the management. <\/p>\n

Alexandra Mei\u00dfner<\/strong> was born in Hoyerswerda in 1983 and studied sociology and communication science in Dresden. From 2008 she worked for the International Filmfest Dresden and was a member of the festival management for seven years. She is active as a freelance programmer and lecturer and advises film and cultural projects in the areas of production, development and mediation. Since 2019, she has been an officer for program support and communication at the Cultural Foundation of the Free State of Saxony, where she coordinates, among other things, the international residency programs and the Small Projects Fund for Rural Areas. <\/p>\n

Michael Merkel<\/strong>, born in 1987 in Dresden, studied German language and literature, cultural studies and art history in Dresden and Wroclaw after training as a wood sculptor. He also studied free art at the Academy in Wroclaw and at the Bauhaus University in Weimar. In addition to the implementation of curatorial projects, he has exhibited several times in Germany and abroad. He has been awarded various grants as well as project funding for his artistic work and has been working as coordinator program planning and public relations at GEH8 Kunstraum Dresden since 2018. He initiated the Amplifier Art-Film Festival in 2019, which he has also coordinated since then.<\/p>\n

 <\/p>\n

Participants<\/strong><\/h2>\n

 <\/p>\n

Bauhaus-Universit\u00e4t \/ Weimar:<\/em><\/h2>\n

 <\/p>\n\n\n\n
\"\"<\/th>\n\n

ANTONIA MANG with FUEGO@TRINIMAR<\/strong><\/h4>\n
A fire has started in the hotel bar. The Hotel Trinimar is located in Benicassim. A place that resembles any other on Spain’s Mediterranean coast – houses and hotel palaces as far as the eye can see. Benicassim is a normal vacation spot. A place where many Germans usually tan their plautze year after year. What was special about this place was perhaps the fire with its thick black clouds against a bright blue sky, the tourists, armed with camera and smartphone, in swimming trunks and bikini, the sound of the sea in the background. Just the danger in paradise.<\/h5>\n<\/th>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
\"\"<\/th>\n\n

JOHANNA RITA LEDERMANN <\/strong>mit V.WORD
\n<\/strong><\/h4>\n
while the world is quiet,
\na person reflects on veins, body,
\ncontrol, love and acceptance<\/h5>\n<\/th>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
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NAWAR ALHUSARI with INDEPENDENT PRESENT_01<\/strong><\/h4>\n
The film is the first of several short films entitled \/Independent Present\/, which aims to show the stories of Syrian refugees in Lebanon and the various challenges of their daily lives. The film questions the concepts (past, present, future …) and their impact on individual and collective memory in a very complex daily life determined by political, economic and social conditions.<\/h5>\n<\/th>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
\"\"<\/th>\n\n

RIKA TARIGAN with OBSESSED<\/strong><\/h4>\n
The film navigates the inner landscape of uncontrollable compulsions in three acts.<\/h5>\n<\/th>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
\"\"<\/th>\n\n

VITOR MATTOS with WHEN EVERYTHING THAT NEEDS TO BE HUNTERED IS US<\/strong><\/h4>\n
The video performance takes place in a snowy forest landscape – along the “blood road” that connects the city of Weimar with the former concentration camp Buchenwald. The performer is involved in a dance with red fabric: a struggle with himself. The radiant color breaks the purity of the snow, so that the dancer cannot escape strange glances.<\/h5>\n<\/th>\n<\/tr>\n<\/tbody>\n<\/table>\n

HfBK Dresden:<\/em><\/h2>\n

 <\/p>\n\n\n\n
\"\"<\/th>\n\n

ANNA CHOI with GREEN SLIME<\/strong><\/h4>\n
The green slime approaches its ears to the window and opens its eyes a crack wide to take a closer look. He hears the voice of life and seeks eye contact with you. He will devour you.<\/h5>\n<\/th>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
\"\"<\/th>\n\n

LAURA ERIKA URBANSKI with A MOMENT’S PERMANENCE<\/strong><\/h4>\n
The video shows two people waiting, exposed to the passing of time. Enclosed in the same airless space, they are nevertheless alone with time and increasingly doubt its reality. Sacral-like, overlapping and intertwining vocals reinforce the decoupling from the basic parameters of being, time and space, the indeterminacy and indeterminability of the moment.<\/h5>\n<\/th>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
\"\"<\/th>\n\n

LEA HOFFARTH with KONKAV<\/strong><\/h4>\n
Konkav is the interpretation of the song of the same name by the artists Hanno Nusche and Friedrich K\u00f6rner. From my first hearing sensation, already painted me images for cinematic implementation, but it forced itself on me the question, what the song from the “inner view”, intention\/intention of the artists, in itself holds. Based on the question: “Which two attributes would you give to your song?” I worked out photograms (see in these pictures). Which in their clustered appearance contain the received answer: “perfidious\/concave\/fusion\/unpredictable”. This teeming of charged objects should enter unpredictably into perfidious fusion. It is thus a play between word, form and sound, which contains the big picture, the playfully childlike and yet brutally? Abstract. In many ways, the levels, those of sound and those of moving image, refer to each other and stimulate the questioning of traits of everyday objects. Wisdom teeth, flowers, chains, candles, dolls, screws, everything is animated even if in the end the electricity is missing.<\/h5>\n<\/th>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
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LISA MARIE BAIER with TANNES<\/strong><\/h4>\n

 <\/th>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
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MONA SOPHIA FREUDENREICH with NIGHT SHADOWS I & II<\/strong><\/h4>\n
While I sleep, I am awake. In the darkness of the shadows I see figures that are familiar to me, but I have forgotten their names. In my dreams they accompany me. I carry them into the day to know their secret. Always a little further, until they find their home in me.<\/h5>\n<\/th>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
\"\"<\/th>\n\n

VERONIKA PFAFFINGER with MINIMAL GARDENING<\/strong><\/h4>\n
In regularly changing intervals the same spot of a beige-brown meadow is watered. After a few days the first changes can be noticed, the meadow turns green. From time to time the watering trace disappears, only to reappear again. It disappears when the weather changes. When it is less hot and rains more often, the whole area turns green. It can also disappear if I don’t find enough time to water and the green patch in the meadow turns brown again. It is not a matter of winning or losing, or of imposing one’s own will; the disappearance is an integral part and the work a dialogue between man and nature. It is based on a defensive attitude in the broadest sense, defensive and benevolent towards things, the (surrounding) world in general, nature, or more concretely: the cycle of nature.<\/h5>\n<\/th>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
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VIKTORIA OVSEPIAN with JOSEPHINE<\/strong><\/h4>\n
My short film Josephine shows the long and arduous way of integration of a person from another country. Integration into a new society and reaching new, almost impossible goals is a main motive of this film. The text of Alfred Bryan “Come Josephine In My Flying Machine” shows how one can “fly” to the top, even if it is unimaginable for others. For the work with this film I was inspired by my voluntary social work and the work for people with migration background.<\/h5>\n<\/th>\n<\/tr>\n<\/tbody>\n<\/table>\n

HGB Leipzig:<\/em><\/h2>\n\n\n\n
\"\"<\/th>\nBERNHARD BORMANN with THE COQUETTE INDIVISIBLE LOVE AFFAIR FILLS THE POWDERY MODERATION<\/strong><\/p>\n

Leaves can be glimpsed in a diffuse background. These leaves seemingly break through a boundary and then become visible to disappear again (as the wind wills). The film music picks up on this moment when a melody is heard through a noise atmosphere.<\/th>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
\"\"<\/th>\n\n

HANNAH FRANKE with CARSTEN, AN APPEARANCE<\/strong><\/h4>\n
Who was Carsten? How did he die and why is there so little of him left? The film touches on the desire to get closer to someone you could never get to know. A search for traces. The attempt of a rapprochement. And the illusion of this possibility. Carsten, my uncle, died when I was a small child and I have no memories of him, no idea who this person was and yet the desire to get to know him. I set out to find him: searching through old family albums and writing down memories my mother has of her brother. It is frighteningly little. And I wonder what actually remains of a person? I photograph what I associate with him. The film describes the attempt of an approach to him, to my family, as well as thoughts about memory and the body as an archive.through fragments, a loose image of an intangible person emerges.<\/h5>\n<\/th>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
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HELENA K\u00dcHNEMANN & KATHRIN UNGER with WHAT WOULD YOU RATHER  BE: A PRIVACY HAVE OR A PRIVACY HAVE-NOT? AUS TWENTYFORTY – UTOPIAS FOR A DIGITAL SOCIETY
\n<\/strong><\/h4>\n
The concept of privacy in an era of ubiquitous technology and social media increasingly divided people between those who value privacy and those who place more value on other commodities. The film is an episode from the work twentyforty, which is dedicated to the question of how digitization will affect our society within the next 20 years.<\/h5>\n<\/th>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
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INKA HILSENBEK with SNAKE NEST IN THE HEART<\/strong><\/h4>\n
Hissing voices flow between our bodies Whisper answers that come too late
\nTwirling deaf thoughts
\nCarry on conversations that never were.
\nYou declare war on me
\n(I’m not listening to you)
\nPondering broken memories.<\/h5>\n<\/th>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/h2>\n

Hochschule Mittweida:<\/em><\/h2>\n

 <\/p>\n\n\n\n
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JONAS ERLER & MARIAN R\u00d6DER <\/strong><\/h4>\n

with \u043e\u0434\u0438\u043d\u043e\u043a\u043e<\/strong><\/h4>\n<\/th>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
\"\"<\/th>\n\n

JONAS ERLER & MARIAN R\u00d6DER
\n<\/strong><\/h4>\n

 with Super(8)Skate<\/strong><\/h4>\n<\/th>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/h2>\n

Hochschule Wismar:<\/em><\/h2>\n\n\n\n
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ARKADIJ BLINOW, PHILIPP RING with IMPRESSIONS FROM THE DARK CHAMBER<\/strong><\/h4>\n
Within a study project titled “The Weather in the Dark Chamber”, the focus was on the conceptual combination of photography and painting. Through the situation of the first Covid-19 Lockdown, we got the opportunity to use an office space in the form of an industrial container with the dimensions of approx. 9,00×6,00×3,00m to a “Camera Obscura”. As a result large-format negatives were created over a period of several months. The largest of them, with the dimensions of 1,20×2,00m, was subsequently
\nImpressions of the past time in an impulsive design process painted.<\/h5>\n<\/th>\n<\/tr>\n<\/tbody>\n<\/table>\n

Kunsthochschule Berlin Wei\u00dfensee:<\/em><\/h2>\n

 <\/p>\n\n\n\n
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MARGARETE KISS with THE DANCE OF THE LAST NAPKIN
\n<\/strong><\/h4>\n
Around 1800, a flourishing textile industry developed along the Fl\u00f6ha River, which almost completely collapsed in 1989-90, resulting in mass unemployment. Numerous inns closed around the same time. The film shows scenes in one of these inns in Augustusburg and connects them with the symbolic, Sisyphean task of keeping the last napkin in motion and alive.<\/h5>\n<\/th>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/h2>\n

 <\/h2>\n

UdK Berlin:<\/em><\/h2>\n\n\n\n
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KLARA KIRSCH with FIT BY STACY – HOMETOUR
\n<\/strong><\/h4>\n
Fit By Stacy is a long-term project that explores questions of identity\/s and self-duplication in the digital world, as well as female bodies and role
\nin the digital world, as well as female bodies and role models in social media. In Hometour, the emptiness in Stacy’s virtual home becomes a metaphor. While youtube-typical phrases are strung together, one can sense slight breaks in their perfection can be glimpsed.<\/h5>\n<\/th>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
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MARYNA MAKARENKO with IN CLOSURE
\n<\/strong><\/h4>\n
“In Closure” is a short documentary essay film about how isolation due to the Covid 19 pandemic has changed how we understand bodies, intimacy, and closeness. During isolation, I reflected on how the virus changed how I thought and felt about my body and other people’s bodies. I invited friends to reflect on these questions in the form of self-recorded interviews and short body portraits. My analog film-photo archives became another layer of work that took on new meaning in a contemporary context.<\/h5>\n<\/th>\n<\/tr>\n<\/tbody>\n<\/table>\n

Universit\u00e4t Greifswald:
\n<\/em><\/h2>\n\n\n\n
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DEBORAH GROSS with DIS(CONNECTED)
\n<\/strong><\/h4>\n
In times of social distance, we all come together in front of our screens in the digital world. Connected to the whole world and yet isolated within our own four walls. For some time now, we have been moving, searching and losing ourselves as an “only person” in a non-real space. As if we were stuck in an endless loop. The loss of any freedom of movement and closeness has made us more sensitive to the little things. Because a glance out of the window can sometimes be the most eventful and intimate moment of a day.<\/h5>\n<\/th>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n\n
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STEN NIKLAS WASHAUSEN mit WIRRSZANIE
\n<\/strong><\/h4>\n
Students from Greifswald & Szczecin have discussed together the contemporary ways of dealing with a crisis. Here I have approached the emotional handling of confusion. Individual fates from private circles of Polish & German families complement the minimalist entropy, which intensifies to frequent moments of spontaneous omni confusion.<\/h5>\n<\/th>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/h2>\n

Guests: Columbus College of Art & Design
\n<\/em><\/h2>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Asa Compton<\/td>\nAgent Garbo<\/td>\n<\/tr>\n
Jack Hoppy<\/td>\nJoy Devision – The voice remains<\/td>\n<\/tr>\n
Alyssa Morris<\/td>\nPortrait of Mary Skrenta<\/td>\n<\/tr>\n
Friday Smith<\/td>\nThe trip home<\/td>\n<\/tr>\n
Matthew Hughes<\/td>\nUnderstanding James<\/td>\n<\/tr>\n
Tyler Newby<\/td>\nTomato Lemon<\/td>\n<\/tr>\n
Group work<\/td>\nAtomic<\/td>\n<\/tr>\n
Bethany Haggy<\/td>\nSense of Self<\/td>\n<\/tr>\n
Jonathon Dulaney<\/td>\nMonsters life in here<\/td>\n<\/tr>\n
Caitlin Tobin<\/td>\nValen<\/td>\n<\/tr>\n
Emma Pommering<\/td>\nMoose Can Do What They Want<\/td>\n<\/tr>\n
Loren West<\/td>\nCats<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

Here are our impressions of the 3rd Verst\u00e4rker Art-Film-Festival:<\/h2>\n
\n